現場拍賣 20450古典大師及英國素描
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
拍品 195 PROPERTY FROM A PRIVATE GERMAN COLLECTION

REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

Sheet of Studies: Head of the Artist, a Beggar Couple, Heads of an Old Man and Old Woman, etc.

已結束2022年7月5日

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GBP 25,000–35,000

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REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Sheet of Studies: Head of the Artist, a Beggar Couple, Heads of an Old Man and Old Woman, etc.
etching, 1632, on laid paper, watermark fragment Basilisk (see Hinterding A-a-a or A-a-b), a fine impression of the second, final state, printing strongly, with a light plate tone and many accidental marks, with thread margins or trimmed to or just outside the platemark, in very good condition
Plate 100 x 104 mm.
Sheet 101 x 105 mm.

Unidentified initials GLB in pencil verso (Lugt 1172b).
A. P. F. Robert-Dumesnil (1778-1864), Paris (Lugt 2200); his sale, Phillips, London, 12-14 April 1836, lot 321 (to Tiffin for Claussin).
Chevalier Ignace-Joseph de Claussin (1766-1844), Paris and London (see Lugt 485, without his mark); probably his sale, Paris (expert Paillet), 9 September 1844.
Dr August Sträter (1810-1897), Aachen, Germany (Lugt 787); his sale, H. G. Gutekunst, Stuttgart, 10-14 May 1898, lot 887 ('Prachtvoller Abdruck mit Rändchen') (to Mathey).
Paul Mathey (1844-1929), Paris (Lugt 2100b); his sale, Hotel Drouot, Paris, 9 April 1924, lot 151.
With Lecaplain et Cie. Paris (see Lugt 1664c; without mark); probably one of their sales, Paris (experts M. Rousseau and P. Briquet), 1949.
Mrs I. de Bruijn (without mark; not in Lugt).
M. J. Boele van Hensbroek (without mark; not in Lugt); his sale, Sotheby's, London, 21 March 1972, lot 133 (to Boerner).
With C. G. Boerner, Düsseldorf & New York.
Leslie E. Lancy (1911-1996), Ellwood City, Pennsylvania (Lugt 4796).
With Kunsthandel Helmut Rumbler, Frankfurt am Main.
Acquired from above by the present owners in 2012.

專家說明

The present impression is printed on a sheet with a Basilisk watermark fragment (see Hinterding A-a-a or A-a-b). According to Hinterding, the earliest occurence of this watermark in Rembrandt's oeuvre is circa 1632, on an impression of the Raising of Lazarus (New Hollstein 113).